Part Two, Chapter 7

Summary

His two weeks nearly over, Alex goes once more to the
screening room. He wears his old clothes, which the orderly gives
him along with his old razor. Upon entering, Alex notes that the
room looks quite different. A curtain covers the screen wall, and
in place of the frosted glass are seated a group of men. Among them
are Branom, Brodsky, the Minister of the Interior, the Chief Warden,
the Staja Governor, and the chaplain. When Brodsky notices Alex
enter, he winds down his lecture about the virtues of Reclamation
Treatment and introduces Alex, his test subject. Brodsky then urges
them all to observe Alex in action, as a model citizen. Confused,
Alex stands before the curtain while the lights dim and a spotlight
is focused on him. A large, older man walks up to Alex and insults
him, twisting his ear, flicking his nose, and stepping on his foot.
Alex reaches for his razor, but the “horrible killing sickness”
immediately stops him. Alex’s only recourse, he reasons, is to change
his hostile feelings toward the man. Alex tries to give him a present,
but the man insults him, slapping the razor Alex offers him from
Alex’s hand. Desperate to please, Alex licks his boots, and when
the man begins kicking him, Alex clings to his ankles until the
man falls. This triggers laughter among the audience, but it pains
Alex, and he tries to help the man to his feet. At this point, Brodsky
calls off the charade, and the man, evidently an actor, bows and
scurries away. Brodsky explains that all of Alex’s violent impulses
are accompanied by intense physical distress, and therefore, any
ill will on Alex’s part ends up forcing him to exhibit good behavior.

He then opens the floor to questions, and an argument
ensues. On one side, the chaplain criticizes the treatment, claiming
that it eradicates the possibility of moral choice for the subject.
On the other side, Brodsky and the Minister defend the treatment,
stressing its efficacy and usefulness. At a loss, Alex loudly protests,
“What about me? . . . Am I just to be a clockwork orange?” This
silences the room, and the men remain quiet for a moment before
a man unfamiliar to Alex scolds him. The argument erupts again,
this time about love, but Brodsky uses the topic change as an opportunity
to present his second case study to the audience. This time a beautiful young
girl appears. Alex thinks about raping her savagely, but as the sickness
hits, he finds himself bowing and professing a knightly devotion
to her in order to escape the pain. With this, the girl bows and
capers off, as the other men ogle her and Alex feels incredibly stupid
for responding to such an obvious ruse. Pleased with the success
of his presentation, Brodsky declares Alex a “true Christian” who
is “ready to turn the other cheek.”

Analysis

Brodsky’s guarantee that Alex will become a “true Christian”
not only provides insight into the State’s position on religion,
it also sheds some light on Alex’s status as a martyr. At other
points in the book, Alex has toyed with the notion of playing Christ.
Each time, however, he’s always been willing to forsake his identification
with Jesus for the chance to nail Jesus to the cross. Now, however,
Alex has become a true—though unwilling—martyr. What may have begun
as a form of self-flattery has now been wrested from his control,
as the State forcibly imposes martyrdom upon Alex. After going through
Ludovico’s Technique, the doctors say that Alex is now “ready to
turn the other cheek,” an explicit reference to Christ’s Sermon
on the Mount (found in the Bible’s Book of Matthew.) Alex has become
a Christian martyr, in the sense that he now exhibits a commitment
to humility and acceptance, as well as a political martyr, sacrificed
to the cause of social stability. We’ll see in forthcoming chapters
that these two things are very much the same.

The chaplain’s challenge to Brodsky and the Minister serves
as both a reasonable critique of the State’s new criminal policy
and religious outlook, as well as an inspiring redemption of the
chaplain’s character. Earlier, the chaplain’s ambition and inebriation
leads him astray, as he manages to rationalize Alex’s participation
in the experimental procedure. Now, however, the chaplain sacrifices
his career in order to criticize the corrupt doctors, providing
a rallying point for others who also value free will. As a Christian,
the chaplain understands behavior as a function of choice, since
behavior is predicated on an individual’s decision, as an autonomously
moral being, to perform good acts.

Thus, while Brodsky claims that Alex, who remained unreformed
after two years of imprisonment, has now become a “true Christian”
because he not only does good, but also intends to
do good, the chaplain rightly points out that Brodsky’s conclusion
rests on a crucial technicality. Alex’s incapacity to reason morally
invalidates his intention to do good deeds, since he has ceased
to be capable of making his own choices. The State has replaced
Alex’s autonomy with its own decision-making. Alex imagines that
his consciousness has been infiltrated by an unseen police force
that patrols his impulses. When he sees the beautiful young woman,
his first thought is to rape her, until “skorry as a shot came the
sickness, like a like detective that had been watching round a corner.”
The introduction of an internalized moral police force isn’t just
a subtlety, as Brodsky calls it. Choice, not behavior, is the essential
factor in a Christian moral framework. Thus, Brodsky’s claim that
Alex has become a “true Christian” represents nothing more than
a serviceable party line, designed to bolster the State’s image.
The State emerges as an institution that seeks to perpetuate itself
by appropriating competing individualist philosophies and forms
of self-organization, and imprisoning the remaining dissidents.
As it has already done with youth violence, so it does with Christianity.
Alex unwittingly alludes to this phenomenon when, in Chapter 6,
he describes Ludovico’s Treatment with the final line of the “Our
Father” prayer: “so that I would be sick always for ever and ever
amen.”

Alex begins to truly understand the significance of his
“reclamation” when he refers to himself as a clockwork orange. We
may recall that this phrase was the title of the manuscript Alex
saw in Part One, in the little cottage where the droogs encountered
the writer and his wife. The manuscript was a polemic against the
imposition of “laws and conditions appropriate to a mechanical creation.”
Those are precisely the kind of laws that have been levied against
Alex, who has been technologically conditioned to behave in a given
way, in response to a certain set of stimuli. He is at once organic
and mechanized, aware of his conditioning but powerless to change
it. During Brodsky’s two demonstrations, Alex begins to recognize
the futility of behaving in anything other than a socially acceptable
manner. Alex has become harmless to society, but he is now also
helpless in the face of it. This situation doesn’t bode well for
Alex’s impending release, if the audience’s coarse and gleeful behavior
is any indication of the world outside prison.